Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Matt Brailsford used a modified old tape player as interface to this Raspberry Pi + Spotify Media Server, so listener can use the player (and the cassettes) as physical interface to the different playlists.

Spyweirdos, Mourjopoulos And Floridis – Epistrophy At Utopia

CD – Ad Noiseam
Rethinking jazz in the advent of digital; connecting old energies with new subgenres of glitch post-avant-garde. This is not an easy project – it isn’t enough to put together “free form” veterans (John Mourjopoulos e Floros Floridis), adding only minimal “destructurations” and synthetic rhythms, loops and “oblique” poetics. Spyweirdos tries to do just that and the result is not bad if cleansed from the conceptualization of original intents – with more convincing effects in its nostalgic sound combinations, and iterating old-fashioned sounds and timbral structures, trying to definitely “historicise” them. Once the jazzists were the strong ones among musicians (they have been forced to give up since), articulating new concepts, and wiping out obsolete schemes, reclaiming in this way an experimental “alterity”. These forms never evolved, and they have not coped with new leaps and fractures (if not self-referential ones within the same music genre), confirming that any recovery would have been outdated. Perhaps this is wrong, nevertheless it’s not by accident that there’s no jazz blog paying attention to an album like this – one that is consistent and innovative in the genre, more so than it is within digital music.